Night of the Hunter.
O Brother, Where Art Thou?
Sunday, November 16, 2008
Saturday, October 25, 2008
Wednesday, October 8, 2008
Thursday, June 12, 2008
Greed
Anyone know where I can get a copy of Erich von Stroheim's Greed from 1924 in English? I downloaded a version with Italian title cards from archive.org, but it'd be nice to get a copy in English. Oh yeah, and money is a bit of an object. I won't be able to pay a king's ransom for an old VHS transfer or a third generation copy of reel nine (but what a great thing to have!).
Why is this not available on DVD? MGM, get your act together!
While I'm on the topic, I'd love, looooove a copy in just about any format of Veit Harland's Der Herrscher. I know it's only available in German and without subtitles, but I'll take it...
Why is this not available on DVD? MGM, get your act together!
While I'm on the topic, I'd love, looooove a copy in just about any format of Veit Harland's Der Herrscher. I know it's only available in German and without subtitles, but I'll take it...
Monday, May 12, 2008
The Radiohead debacle--emblematic of a new paradigm
For much of the day--between work and having to drive around in more rain!--I've been tooling around the net, looking for further info on the Radiohead show I missed two posts ago. People are sad, disappointed, angry and just plain tired. There's an online petition (please consider signing) up and people on RH message boards are all over this.
So let's add some perspective, and I don't do this to minimize what anyone went through last night: this was a pop concert, and while we spent a good deal of money, for most people, I hope, this was discretionary income. In other places in the world, as we speak, people are suffering far worse than the eight hours I had to sit in my car and expel greenhouse gases. Should we be upset? Of course. Nissan Pavilion and LiveNation didn't deliver to a huge number of people and that counts for something, but, unless we made the local news in DC, I can't imagine much press for this event. Let's face it, RH is a popular band, but they ain't the Stones (thank god)...
Here's the really neat thing though--when I was suffering after the Bull Run "concert" in '01, it was a very solitary experience. I was the only Radiohead I knew and had gone there by myself. As a result, I had this crazy story to tell people, but it was basically my story. Today I discover that not only, of course, were there a ton of people with a similar story, but many of them also shared the gut-wrenching time I had last night. Many of the comments I have seen have been supportive and encouraging. If nothing else, the internet has been a place for information about the show (missed Paranoid Android, Karma Police, Planet Telex and Optimistic? I expected the new album, which is great, but damn...) as well as a way for some of us to hear other stories and band together. Still, this is one of the first times the internet has actually made me feel better. There's a lot of commiseration and sympathy out there and, perhaps, it's merely because many of us share this common interest (no flaming, please), but it does represent some of what's best about the internet.
I started this blog as a homework assignment, but today several people I've never met commented on the RH post to offer help, commiseration and support--that's pretty amazing.
So let's add some perspective, and I don't do this to minimize what anyone went through last night: this was a pop concert, and while we spent a good deal of money, for most people, I hope, this was discretionary income. In other places in the world, as we speak, people are suffering far worse than the eight hours I had to sit in my car and expel greenhouse gases. Should we be upset? Of course. Nissan Pavilion and LiveNation didn't deliver to a huge number of people and that counts for something, but, unless we made the local news in DC, I can't imagine much press for this event. Let's face it, RH is a popular band, but they ain't the Stones (thank god)...
Here's the really neat thing though--when I was suffering after the Bull Run "concert" in '01, it was a very solitary experience. I was the only Radiohead I knew and had gone there by myself. As a result, I had this crazy story to tell people, but it was basically my story. Today I discover that not only, of course, were there a ton of people with a similar story, but many of them also shared the gut-wrenching time I had last night. Many of the comments I have seen have been supportive and encouraging. If nothing else, the internet has been a place for information about the show (missed Paranoid Android, Karma Police, Planet Telex and Optimistic? I expected the new album, which is great, but damn...) as well as a way for some of us to hear other stories and band together. Still, this is one of the first times the internet has actually made me feel better. There's a lot of commiseration and sympathy out there and, perhaps, it's merely because many of us share this common interest (no flaming, please), but it does represent some of what's best about the internet.
I started this blog as a homework assignment, but today several people I've never met commented on the RH post to offer help, commiseration and support--that's pretty amazing.
Something for the Radioheads (and Silvia)
It doesn't make up for those of us who missed last night's show--but it's a pleasant find nonetheless.
Enjoy.
Enjoy.
Rain is good, but not for Radiohead
So how was the show?
Back in '01, I went to see Radiohead at this place in VA called Bull Run. It was hot and I got there early, parked, went in and sat in the sun, waiting for Thievery Corporation and the the Beta Band to open up. It rained instead.
At first, the rain was a welcome respite from the heat, but it just poured. After a time, we were instructed to wait in our cars and told we would be readmitted. I sat for over an hour, drenched, in my car's passenger seat, watching teenagers slide in the mud, until we were told the show was canceled. I received a full refund.
So when my wife surprised me with a pair of Radiohead tickets I was a bit apprehensive. They were playing at a different venue, the Nissan Pavilion, but it was supposed to rain. It did.
My friend and I left Baltimore at 5:30--perhaps naive for a 7:30 show, but I had no idea how long it might actually take--I know 495 is a nightmare, but the rain didn't start until we left and it was Mother's Day. I had to visit my mother, of course, and it seemed unreasonable to tell her I couldn't visit because I needed to go to a 7:30 show that was 90 minutes away. Besides, shows start late, and there's an opening act, the Liars, that if we missed--oh, well... (sorry Liars, you seem like a fine band).
Suffice to say, we drove in an increasingly complex system of police mandated detours with hundreds (thousands?) of others, in the rain, with no clear idea of how close we were or even how to get back to the interstate. This went on for hours. My feelings were: the show will be canceled (all these people unable to get in!) or delayed (again, all these people). By 10:30 we unrolled our window and asked a cop, who had just blocked yet another road, "No show?" "No show," he answered.
This was some relief. I have been driving for five straight hours in the rain. We looped around and into a gas station for a bathroom break and a snack before turning around to head home (we went the wrong way for about a quarter of an hour--I had never been there before remember). I got home at 1:30 am. I could have gotten into South Carolina if I had driven straight south--Boston, if I had gone in the other direction. We joked that we could have driven to NYC for a slice of pizza and back, and still had time to spare.
The show, I find upon waking, was not canceled. It went on as scheduled. I'm not angry about that--fans made it in, why shouldn't they play? But will we receive refunds of some kind (I didn't even get to see the parking lot!)? Why, if Radiohead wants to be green (which I applaud) do they recommend fans use public transportation to a venue that, to my knowledge, has none? RFK is off of the Metro. How in the hell does anyone go to see anything at the Nissan Pavilion? That was a lot of rain (flooding, apparently) but it wasn't a hurricane. If shows are going to go on rain or shine, shouldn't there be contingency plans for traffic and, perhaps, some drainage or road improvements?
Incredibly, I am 0-2 with Radiohead concerts.
Back in '01, I went to see Radiohead at this place in VA called Bull Run. It was hot and I got there early, parked, went in and sat in the sun, waiting for Thievery Corporation and the the Beta Band to open up. It rained instead.
At first, the rain was a welcome respite from the heat, but it just poured. After a time, we were instructed to wait in our cars and told we would be readmitted. I sat for over an hour, drenched, in my car's passenger seat, watching teenagers slide in the mud, until we were told the show was canceled. I received a full refund.
So when my wife surprised me with a pair of Radiohead tickets I was a bit apprehensive. They were playing at a different venue, the Nissan Pavilion, but it was supposed to rain. It did.
My friend and I left Baltimore at 5:30--perhaps naive for a 7:30 show, but I had no idea how long it might actually take--I know 495 is a nightmare, but the rain didn't start until we left and it was Mother's Day. I had to visit my mother, of course, and it seemed unreasonable to tell her I couldn't visit because I needed to go to a 7:30 show that was 90 minutes away. Besides, shows start late, and there's an opening act, the Liars, that if we missed--oh, well... (sorry Liars, you seem like a fine band).
Suffice to say, we drove in an increasingly complex system of police mandated detours with hundreds (thousands?) of others, in the rain, with no clear idea of how close we were or even how to get back to the interstate. This went on for hours. My feelings were: the show will be canceled (all these people unable to get in!) or delayed (again, all these people). By 10:30 we unrolled our window and asked a cop, who had just blocked yet another road, "No show?" "No show," he answered.
This was some relief. I have been driving for five straight hours in the rain. We looped around and into a gas station for a bathroom break and a snack before turning around to head home (we went the wrong way for about a quarter of an hour--I had never been there before remember). I got home at 1:30 am. I could have gotten into South Carolina if I had driven straight south--Boston, if I had gone in the other direction. We joked that we could have driven to NYC for a slice of pizza and back, and still had time to spare.
The show, I find upon waking, was not canceled. It went on as scheduled. I'm not angry about that--fans made it in, why shouldn't they play? But will we receive refunds of some kind (I didn't even get to see the parking lot!)? Why, if Radiohead wants to be green (which I applaud) do they recommend fans use public transportation to a venue that, to my knowledge, has none? RFK is off of the Metro. How in the hell does anyone go to see anything at the Nissan Pavilion? That was a lot of rain (flooding, apparently) but it wasn't a hurricane. If shows are going to go on rain or shine, shouldn't there be contingency plans for traffic and, perhaps, some drainage or road improvements?
Incredibly, I am 0-2 with Radiohead concerts.
Sunday, May 4, 2008
My apologies
for that last post. It's late, and I'm desperately trying to build something, anything that's interesting and not hopelessly cheesy. Somehow, in real life, I manage to walk the charming and ironic dweeb line quite well, but this business with a script and an agenda and things to say... I feel like a great writer while I'm doing this video stuff because I have zero talent for this and, as I'm working on my Experimental Forms final as well, it seems a lot easier. At least if the writing sucks, I don't have to stand in front of the class and present it!
In other news, I'm watching a VH1 special with Radiohead--"From the Basement" or something. My wife just surprised me with tickets to see them at the Nissan Pavilion. Perhaps I can do my best Thom Yorke in split screen? Sigh.
Love my wife. I do.
In other news, I'm watching a VH1 special with Radiohead--"From the Basement" or something. My wife just surprised me with tickets to see them at the Nissan Pavilion. Perhaps I can do my best Thom Yorke in split screen? Sigh.
Love my wife. I do.
More nightmarish embarrassment!
It just wouldn't be the internet without stuff like me...
Please tell me it's all in good fun...
Please tell me it's all in good fun...
Saturday, May 3, 2008
I did it!!!
This project is a total nightmare (FYI, I can't act and have no charisma in front of the camera). BUT, I think I've solved some of my technical issues (ie. the split screen).
O Frabjus day, Calloo, Callay!
O Frabjus day, Calloo, Callay!
Sunday, April 20, 2008
Monday, March 31, 2008
Well, that didn't work as I'd hoped
Problems with ourmedia, so I'm going to post the rest of the podcasts here.
Enjoy.
Enjoy.
Sunday, March 30, 2008
The final links in the podcast chain
Here is the best help I found in terms of getting things set up on the blog.
Here are two excellent, free media storage sites: ourmedia.org and mediamax.com.
And here are some narrative examples:
This is a wonderful site (Immigration Tales) that, I think, exemplifies the promise of what the internet could be/is/will be. It hasn't been updated in a while, but it has immigrants relating stories from home or experiences as immigrants.
Perhaps not an "excellent" example of an "engaging, successful narrative," this is too crazy to not include. Rolemonkeys is a group of role playing gamers who podcast some of their campaigns, such as this one--a D&D campaign. Incredible that people listen to other people (not even watch, but listen) play a role playing game. It's pretty cool and speaks to how the internet can so easily serve all the disparate niche groups in the world. Maybe only handful of people in your town like what you like, but on the internet there are thousands of people like you. I listened for almost a half an hour!
Okay, so I'm a sucker for NASA. I don't follow space exploration like I did when I was a kid, but the science.nasa.gov site has podcasts that explain, in a narrative way--the story of the exploration and collection of data. Geek out!
Here are two excellent, free media storage sites: ourmedia.org and mediamax.com.
And here are some narrative examples:
This is a wonderful site (Immigration Tales) that, I think, exemplifies the promise of what the internet could be/is/will be. It hasn't been updated in a while, but it has immigrants relating stories from home or experiences as immigrants.
Perhaps not an "excellent" example of an "engaging, successful narrative," this is too crazy to not include. Rolemonkeys is a group of role playing gamers who podcast some of their campaigns, such as this one--a D&D campaign. Incredible that people listen to other people (not even watch, but listen) play a role playing game. It's pretty cool and speaks to how the internet can so easily serve all the disparate niche groups in the world. Maybe only handful of people in your town like what you like, but on the internet there are thousands of people like you. I listened for almost a half an hour!
Okay, so I'm a sucker for NASA. I don't follow space exploration like I did when I was a kid, but the science.nasa.gov site has podcasts that explain, in a narrative way--the story of the exploration and collection of data. Geek out!
A small break in the podcasting action (Updated below)
Via CBR News and Newsarama comes the recent ruling on the Superman property and Jerry Siegel's estate. Obviously this is pending an appeal (and DC's already pretty lawyered up, of course) but this could have a huge impact on not just the comics industry, but the way we think about corporate characters.
It's pretty clear to anyone who cares to know, that Siegel and Joe Shuster were thoroughly ripped off by what would become DC Comics in the 1930s when they created one of the biggest cash cows in modern publishing. But what is most interesting is the way that companies like DC (and Disney) have successfully lobbied to extend copyright protections over the years. It once took 56 years for a property to enter public domain, since revised to 75 years with, strangely, another 20 tacked on for properties like Superman and Mickey Mouse. Nevertheless, DC's claim that Siegel and Shuster's original Superman was "work for hire" has failed a big court test, meaning their families (a bit more problematic with Joe Shuster's heirs, apparently, since he has no direct descendants--why should that matter?) regained at least part of the copyright as of 1999 (a provision in the law that extended the copyright from 56 to 75 years).
This could mean a ton of money is owed these people (anyone remember a recent 200 million dollar blockbuster featuring a soap opera actor in a red cape?)
More details are here in the Times, but I'm interested in this question of public domain. Superman should enter the public domain in 2033, although I'm sure we'll see all kinds of battles to extend this. This most recent decision seems to be a blow in the favor of creativity and against the lazy exploitation of publishers. See it from this angle--Supes, in 2033, could be the subject, legally, of any movie, comic, book, whatever, that anyone wants to publish. This means Marvel Comics (DC's biggest competitor) could publish its own Superman comic, whereas DC would have no legal right to Marvel's big cash cow, Spiderman, for almost 25 more years. Or will work for hire characters (like Spidey, I presume) ever enter public domain? Just because a corporation owns a character shouldn't mean it can own it in perpetuity, right?
And it isn't just Superman--Batman and Wonder Woman are also pretty long in tooth (as are Marvel's Captain America and Sub-Mariner). I'll be getting pretty old by then (60!) but shouldn't we be able to see some of these characters enter the public domain? Just because the Disney company never dies, why should the character of Mickey Mouse remain an inviolate entity? This seems to miss out on the spirit of public domain which would make old films (like Snow White, for example) available free on the internet or for republication. Do scholars have a more difficult time with access if Disney and DC attempt to hang onto these old properties in perpetuity? When Disney wants to keep Song of the South away from the public, shouldn't there come a time when anyone can rebroadcast or publish that film as a historical document (like Huckleberry Finn)?
The next couple of decades will be interesting--the 1930s and 1940s saw the creation of a lot of classic properties that persist (don't forget Bugs Bunny, folks!)--and public domain can't be held off forever--can it?
Update: A nice legal FAQ is here. Mark Evanier has a post about the Times getting Joe Shuster's name wrong! (They've since corrected it...).
And Jenny's favorite (or at least, the oft-mentioned) comic writer, Neil Gaiman weighs in...
It's pretty clear to anyone who cares to know, that Siegel and Joe Shuster were thoroughly ripped off by what would become DC Comics in the 1930s when they created one of the biggest cash cows in modern publishing. But what is most interesting is the way that companies like DC (and Disney) have successfully lobbied to extend copyright protections over the years. It once took 56 years for a property to enter public domain, since revised to 75 years with, strangely, another 20 tacked on for properties like Superman and Mickey Mouse. Nevertheless, DC's claim that Siegel and Shuster's original Superman was "work for hire" has failed a big court test, meaning their families (a bit more problematic with Joe Shuster's heirs, apparently, since he has no direct descendants--why should that matter?) regained at least part of the copyright as of 1999 (a provision in the law that extended the copyright from 56 to 75 years).
This could mean a ton of money is owed these people (anyone remember a recent 200 million dollar blockbuster featuring a soap opera actor in a red cape?)
More details are here in the Times, but I'm interested in this question of public domain. Superman should enter the public domain in 2033, although I'm sure we'll see all kinds of battles to extend this. This most recent decision seems to be a blow in the favor of creativity and against the lazy exploitation of publishers. See it from this angle--Supes, in 2033, could be the subject, legally, of any movie, comic, book, whatever, that anyone wants to publish. This means Marvel Comics (DC's biggest competitor) could publish its own Superman comic, whereas DC would have no legal right to Marvel's big cash cow, Spiderman, for almost 25 more years. Or will work for hire characters (like Spidey, I presume) ever enter public domain? Just because a corporation owns a character shouldn't mean it can own it in perpetuity, right?
And it isn't just Superman--Batman and Wonder Woman are also pretty long in tooth (as are Marvel's Captain America and Sub-Mariner). I'll be getting pretty old by then (60!) but shouldn't we be able to see some of these characters enter the public domain? Just because the Disney company never dies, why should the character of Mickey Mouse remain an inviolate entity? This seems to miss out on the spirit of public domain which would make old films (like Snow White, for example) available free on the internet or for republication. Do scholars have a more difficult time with access if Disney and DC attempt to hang onto these old properties in perpetuity? When Disney wants to keep Song of the South away from the public, shouldn't there come a time when anyone can rebroadcast or publish that film as a historical document (like Huckleberry Finn)?
The next couple of decades will be interesting--the 1930s and 1940s saw the creation of a lot of classic properties that persist (don't forget Bugs Bunny, folks!)--and public domain can't be held off forever--can it?
Update: A nice legal FAQ is here. Mark Evanier has a post about the Times getting Joe Shuster's name wrong! (They've since corrected it...).
And Jenny's favorite (or at least, the oft-mentioned) comic writer, Neil Gaiman weighs in...
Thursday, March 27, 2008
Some podcasting links
Here are a few, hopefully, helpful links for those interested in podcasting.
The Podcasting Legal Guide
RSS Feed creation software
(and here)
Some recording software
and, of course Audacity
The Podcasting Legal Guide
RSS Feed creation software
(and here)
Some recording software
and, of course Audacity
More podcasting
So here: is the second podcast entry. Hey Kids! Fanny Fern!
I've had problems with setting up the pods in feeds of their own. Of course, one could always set up my blog's RSS feed and subscribe to my podcast that way. This is not uncommon as often podcasters include blog as well.
I've had problems with setting up the pods in feeds of their own. Of course, one could always set up my blog's RSS feed and subscribe to my podcast that way. This is not uncommon as often podcasters include blog as well.
Wednesday, March 26, 2008
Friday, March 14, 2008
Iowa and the thesis
Via Lindsey comes this rather interesting Megan Pillow piece about Iowa's Writers' Workshop and the new policy of signing over internet rights for the graduate thesis.
And that is what such a policy amounts to, an abdication of internet rights. I think there's a bit of hysteria developing here--the "no one will ever publish my book and students will be encouraged to submit crap to finish the program" stuff is a slippery slope. The truth is, there's no way to really know what might result from having this kind of work freely available. Some could argue that it's good publicity for these up and coming writers (although you'd think simply graduating from Iowa would open that door at least a little) to make this stuff available.
Nevertheless, I think such a policy serves Iowa's program far more than the students. It becomes a kind of showcase, especially if an author is on his/her way to fame/fortune/good reviews, and a way to promote the program. And this smacks a bit of extortion--I'm always leery of new rules that ask you to give up something just to play their game. Students are right to be concerned about internet rights. Part of the responsibility of a writing program is to help students navigate some of the publishing game, of which the internet is, increasingly, becoming a big part. It is true that your Master's thesis is, technically, published, but the rights remain with the author and the "publication" ends up in a dusty college library.
I think this is of particular interest to writers who want to teach. Most writers are not living off of their novels/short story collections/chapbooks. Sure, many are making a living from writing, but those of us that teach need publication--at this point that mostly means print publication--for things like tenure and promotion. Does having a thesis freely available online jeopardize this? I can imagine a PhD dissertation, ready to be turned into a book or chopped into articles published in academic journals, may be a tougher sell for such publication if it's readily available online. Or is this a totally different situation since we're dealing with creative work?
There's no way to tell--much of the impact of "new media" is difficult to predict. Still, I would hope that one of the premier writing programs would be a bit more careful with the publishing rights of its students.
And that is what such a policy amounts to, an abdication of internet rights. I think there's a bit of hysteria developing here--the "no one will ever publish my book and students will be encouraged to submit crap to finish the program" stuff is a slippery slope. The truth is, there's no way to really know what might result from having this kind of work freely available. Some could argue that it's good publicity for these up and coming writers (although you'd think simply graduating from Iowa would open that door at least a little) to make this stuff available.
Nevertheless, I think such a policy serves Iowa's program far more than the students. It becomes a kind of showcase, especially if an author is on his/her way to fame/fortune/good reviews, and a way to promote the program. And this smacks a bit of extortion--I'm always leery of new rules that ask you to give up something just to play their game. Students are right to be concerned about internet rights. Part of the responsibility of a writing program is to help students navigate some of the publishing game, of which the internet is, increasingly, becoming a big part. It is true that your Master's thesis is, technically, published, but the rights remain with the author and the "publication" ends up in a dusty college library.
I think this is of particular interest to writers who want to teach. Most writers are not living off of their novels/short story collections/chapbooks. Sure, many are making a living from writing, but those of us that teach need publication--at this point that mostly means print publication--for things like tenure and promotion. Does having a thesis freely available online jeopardize this? I can imagine a PhD dissertation, ready to be turned into a book or chopped into articles published in academic journals, may be a tougher sell for such publication if it's readily available online. Or is this a totally different situation since we're dealing with creative work?
There's no way to tell--much of the impact of "new media" is difficult to predict. Still, I would hope that one of the premier writing programs would be a bit more careful with the publishing rights of its students.
Monday, March 10, 2008
The updating flurry continues...
Midterms, of course, make updating a bit sporadic (sorry you die-hard YFatC fans!) but I also wanted to mention that I contacted the Career Center this morning about an appointment for the group-who-none-dare-speak-its-name (perhaps the Alas! Only Lovecraft Could Have Named Our Group group).
The Name
So nobody seems to like my name for the group (the TTDC). Personally, I think it's funny--it's a pun, but not a crazy one that makes people groan. In any event, someone please name this group!
In other news, I composed an email that, I hope, Kendra will send around soon.
In other news, I composed an email that, I hope, Kendra will send around soon.
Sunday, March 2, 2008
Slight update
Fear not, true believers--the Tenure Track Document Concern is still on its way. I just needed to grade a lot of papers this weekend (still not finished) as well as finish the project for this class.
In any event, I still hope to draft that email and get it out before spring break. Anyone want to post a comment about a possible time and place to meet?
In any event, I still hope to draft that email and get it out before spring break. Anyone want to post a comment about a possible time and place to meet?
Thursday, February 28, 2008
The Tenure Track Document Concern
I think that's what I'm going to call the group, for now--at least until someone suggests something better. (I know a concern is a business, but it's a grand pun)
In any case, the meeting with Kendra went quite well. We settled on a very practical idea that would meet some of my needs and, hopefully help a bunch of interested parties.
One of the best things about UB's MFA is that there really is an opportunity to make it your own--a lot is possible. So, for those interested in teaching, there are some opportunities becoming available, more all the time I'd imagine. But my primary goal was to build a group around the CV, cover letter and statement of teaching philosophy. Sometime this weekend I'm getting an email together that's, essentially, a call for like-minded folks (this goes for people in the program, those about to finish or new, and alumni--we are here to help! All interested parties welcome). I don't have a sense of who's interested and who's not, so let me lay some of the ideas out...
1) We need to meet--see who we are, what we think we need to achieve, put heads together.
2) The ultimate goal is to draft the necessary documents for applying for tenure-track jobs, but I think we should begin with the cover letter. One of the ideas Kendra helped me keep in focus is that UB is a unique program, and that needs to be reflected in the letter. So we need to not just build a letter suited to ourselves as individuals, but letters that maximize the kinds of things that might set us apart as graduates of this particular program. For example: most of us would be not only capable of overseeing a student literary magazine, but designing and producing it (with student help and input, of course) as well. These kinds of skills could add a whole new dimension to a candidate that employers may not even know they need/want (until we tell them in our fabulous letters).
3) One of my goals is to meet with some UB career counselors about this--hopefully, I can swing this prior to our meeting as a group...
4) Another goal, of course, is to develop a CV in the same fashion (we'll worry about particulars later) but Kendra had a nice idea of developing a standard for students that would be like what designers put together: a CD with digital photographs or copies of design work--a portfolio on disc. In addition to the traditional CV, that could be a great asset. I plan to talk to some of the design professors about what these are like.
I'm excited. Any ideas?--the door remains open to comments.
In any case, the meeting with Kendra went quite well. We settled on a very practical idea that would meet some of my needs and, hopefully help a bunch of interested parties.
One of the best things about UB's MFA is that there really is an opportunity to make it your own--a lot is possible. So, for those interested in teaching, there are some opportunities becoming available, more all the time I'd imagine. But my primary goal was to build a group around the CV, cover letter and statement of teaching philosophy. Sometime this weekend I'm getting an email together that's, essentially, a call for like-minded folks (this goes for people in the program, those about to finish or new, and alumni--we are here to help! All interested parties welcome). I don't have a sense of who's interested and who's not, so let me lay some of the ideas out...
1) We need to meet--see who we are, what we think we need to achieve, put heads together.
2) The ultimate goal is to draft the necessary documents for applying for tenure-track jobs, but I think we should begin with the cover letter. One of the ideas Kendra helped me keep in focus is that UB is a unique program, and that needs to be reflected in the letter. So we need to not just build a letter suited to ourselves as individuals, but letters that maximize the kinds of things that might set us apart as graduates of this particular program. For example: most of us would be not only capable of overseeing a student literary magazine, but designing and producing it (with student help and input, of course) as well. These kinds of skills could add a whole new dimension to a candidate that employers may not even know they need/want (until we tell them in our fabulous letters).
3) One of my goals is to meet with some UB career counselors about this--hopefully, I can swing this prior to our meeting as a group...
4) Another goal, of course, is to develop a CV in the same fashion (we'll worry about particulars later) but Kendra had a nice idea of developing a standard for students that would be like what designers put together: a CD with digital photographs or copies of design work--a portfolio on disc. In addition to the traditional CV, that could be a great asset. I plan to talk to some of the design professors about what these are like.
I'm excited. Any ideas?--the door remains open to comments.
Monday, February 25, 2008
Today
I probably should have thought of this earlier, but I have a meeting with Kendra today and I want to share with her some of the ideas I've expressed here in the blog. If any one of the thousands who read this want to express an interest or idea about this stuff (especially about the tenure-track-group-that-needs-a-better-name-
and-despite-claiming-to-be-a-writer-I-seem-
to-be-unable-to-conjure-up-anything)--let me know.
and-despite-claiming-to-be-a-writer-I-seem-
to-be-unable-to-conjure-up-anything)--let me know.
Sunday, February 24, 2008
Not to change the subject,
but can we get rid of this term "graphic novel"? I find it a bit pretentious as it seems to be the only way some people can justify reading comics.
"Comics" sounds, I think, to some, like something that must be funny (like the "funny papers") but even the funny papers weren't always funny--adventure and educational strips have always been part of what we consider comics (think Steve Canyon or Mark Trail). Graphic novel hews a bit too closely to "novel" and, despite what the boosters of this term may believe, comics are not novels with illustrations. A decent comic is one that uses words and images to convey a message not unlike the way a film does (another somewhat pretentious term--"cinema" is another and "motion picture" the worst).
But how are we to separate serious art from crappy superhero stuff, you may ask? By reading it! Segregating the medium in this way smacks of snobbery (in the same way people say "genre fiction"--they used to say the same thing about American writers). I worry that we are dividing comics into black and white memoir (art) and colorful people with capes (trash).
The earliest use of "graphic novel" that I recall was when Will Eisner started publishing books in the late seventies (A Contract with God, for example) and it became a way to market it to those interested in art. A few years later, DC comics used it to describe Frank Miller's Dark Knight Returns--a book starring Batman. For a long time after that it seemed to me the term was either applied by pretentious art kids who read anything autobiographical and black and white (like Yummy Fur) or pretentious comic store owners who were looking for ways to milk more money from teenagers who liked Batman--but this one is darker, more violent, and hardcover!
It seems the art kids won that battle, but every now and then, I read a review in a mainstream publication or hear a traditional comics artist refer to his or her work as being a graphic novel. Poppycock--it's comics.
"Poppycock?" Alright, I'm officially too old to have an opinion on this. Converse among yourselves...
"Comics" sounds, I think, to some, like something that must be funny (like the "funny papers") but even the funny papers weren't always funny--adventure and educational strips have always been part of what we consider comics (think Steve Canyon or Mark Trail). Graphic novel hews a bit too closely to "novel" and, despite what the boosters of this term may believe, comics are not novels with illustrations. A decent comic is one that uses words and images to convey a message not unlike the way a film does (another somewhat pretentious term--"cinema" is another and "motion picture" the worst).
But how are we to separate serious art from crappy superhero stuff, you may ask? By reading it! Segregating the medium in this way smacks of snobbery (in the same way people say "genre fiction"--they used to say the same thing about American writers). I worry that we are dividing comics into black and white memoir (art) and colorful people with capes (trash).
The earliest use of "graphic novel" that I recall was when Will Eisner started publishing books in the late seventies (A Contract with God, for example) and it became a way to market it to those interested in art. A few years later, DC comics used it to describe Frank Miller's Dark Knight Returns--a book starring Batman. For a long time after that it seemed to me the term was either applied by pretentious art kids who read anything autobiographical and black and white (like Yummy Fur) or pretentious comic store owners who were looking for ways to milk more money from teenagers who liked Batman--but this one is darker, more violent, and hardcover!
It seems the art kids won that battle, but every now and then, I read a review in a mainstream publication or hear a traditional comics artist refer to his or her work as being a graphic novel. Poppycock--it's comics.
"Poppycock?" Alright, I'm officially too old to have an opinion on this. Converse among yourselves...
Wednesday, February 20, 2008
The Death of Print
is of course, greatly exaggerated. I had a brief conversation with a text book representative this morning, and the direction in which the text book companies seem to be moving is fairly exciting.
I like the idea of content moving online--making a composition book available electronically, for example--but I think we may have to have a conversation about some potential issues with access. Text books are too expensive, and making them available electronically should cut into that--I mean, editing and reproducing material on the web is not free, but the material and shipping costs are relatively negligible. So why do I get the feeling prices for online materials, in ten to fifteen years, won't reflect this change? This is why I think educators (and future educators) need to stay on top of some of these developments. Adoption choices are a big part of what we do, and this is where we can exercise some control. Being concerned about student access, I think, is part of our responsibility if we're at all concerned with some of the social justice aspects of being teachers.
Not everyone has a laptop. Nor do all students even have home access to computers or the internet. While we try as much as possible to minimize any problems with this, it is somewhat more difficult for some students, especially if they have jobs or families, to fit computer lab time into their schedules. Not all schools have 24-hour labs. In fact, I wonder if that may becoming a thing of the past. When I was an undergrad, it seemed like labs were open all the time, but word processing was important and most students didn't have their own computers--the internet was just a baby and not at all fast. The idea that a student could research, compose and print a paper at any time of day from his/her dorm, was, basically, a fantasy. At many schools today, I'd imagine it's the norm.
So while it will be (it's technically feasible now) possible to move away from print text books, how much of them will end up getting printed out in computer labs? Students without access will have a tougher time accessing the material. And simply offering financial aid or scholarships for text books will not really solve this problem. So are we moving toward programs that will provide students with laptops? I'd like to hope that if text book companies are really serious about moving away from print, that they consider subsidizing some programs that can provide students with laptops (reconditioned, whatever--students don't need state of the art machines to access the web wirelessly and word process documents). Even if they are "loaners" or something that can get a student through college, I think this is going to be necessary sooner than we think.
I like the idea of content moving online--making a composition book available electronically, for example--but I think we may have to have a conversation about some potential issues with access. Text books are too expensive, and making them available electronically should cut into that--I mean, editing and reproducing material on the web is not free, but the material and shipping costs are relatively negligible. So why do I get the feeling prices for online materials, in ten to fifteen years, won't reflect this change? This is why I think educators (and future educators) need to stay on top of some of these developments. Adoption choices are a big part of what we do, and this is where we can exercise some control. Being concerned about student access, I think, is part of our responsibility if we're at all concerned with some of the social justice aspects of being teachers.
Not everyone has a laptop. Nor do all students even have home access to computers or the internet. While we try as much as possible to minimize any problems with this, it is somewhat more difficult for some students, especially if they have jobs or families, to fit computer lab time into their schedules. Not all schools have 24-hour labs. In fact, I wonder if that may becoming a thing of the past. When I was an undergrad, it seemed like labs were open all the time, but word processing was important and most students didn't have their own computers--the internet was just a baby and not at all fast. The idea that a student could research, compose and print a paper at any time of day from his/her dorm, was, basically, a fantasy. At many schools today, I'd imagine it's the norm.
So while it will be (it's technically feasible now) possible to move away from print text books, how much of them will end up getting printed out in computer labs? Students without access will have a tougher time accessing the material. And simply offering financial aid or scholarships for text books will not really solve this problem. So are we moving toward programs that will provide students with laptops? I'd like to hope that if text book companies are really serious about moving away from print, that they consider subsidizing some programs that can provide students with laptops (reconditioned, whatever--students don't need state of the art machines to access the web wirelessly and word process documents). Even if they are "loaners" or something that can get a student through college, I think this is going to be necessary sooner than we think.
Sunday, February 17, 2008
Another terminal degree question
If an MFA is a terminal degree, should another master's be strongly advised for those seeking the MFA? I'm not exactly sure where my thinking is going here, but many, not all, PhD programs require a master's and/or have candidates pursue one (that's why so many people receive an MA from their PhD institutions). As a result, those with a PhD are qualified in the less specialized field as well--at least in terms of teaching at the 100 or 200 levels. Getting a PhD means that a person is ultra-specialized--having more than an area of interest or concentration, this person is now an expert in a narrow field of study. This would seem to be true of an MFA graduate--it is true one specializes in broad areas like poetry or fiction, but in some sense, one becomes a specialist in his/her own work. There is constant advice about the kinds of writers a candidate should read in terms of the work he/she is trying to complete for the program (this is all appropriate, I think) but it can leave a person with a BA in, say, philosophy (like myself) and an MFA with a pretty spotty literature background--not to mention a sparse background in collegiate writing (composition, technical, etc.) especially from the point of view of an employer.
There are too many MFA programs creating too many graduates who want jobs teaching, of which there aren't many. Obviously, many of us will have to "settle" for teaching composition or literature. The question is are we qualified to teach these subjects, or, rather, are we perceived to be qualified? That's the trick. Applying for a job where one may be asked to teach four or five sections of composition a semester may not be very likely when the MFA thesis is a chapbook and there's little evidence of academic research or writing throughout the program. Again, I'm not saying this matters (the best preparation for teaching comp is teaching comp) but might it matter to prospective employers? I used to think the MFA would put me slightly ahead of those with mere MAs, but now I'm not so sure. I have an MA already, but does the MFA really matter if I can't get a book (or two!) published (a probable requirement to teach creative writing)? Was I better off going into a PhD program (although they have their own "producing more than we can hire" issues)?
From a future job standpoint--I don't know. It's a bit academic at this point (I'm fairly close to being finished) but it may be something to consider as we think about the particular program at UB, as well as other programs around the country.
Finally, I will say this: in terms of fiction writing, this degree has been the best thing I've ever done. I think my work is miles above what it had been. In terms of being an artist, irrespective of jobs or publication, I would do it again and again--I'm just wondering about how to make the best of the piece of parchment I'll receive and those who will come behind me.
There are too many MFA programs creating too many graduates who want jobs teaching, of which there aren't many. Obviously, many of us will have to "settle" for teaching composition or literature. The question is are we qualified to teach these subjects, or, rather, are we perceived to be qualified? That's the trick. Applying for a job where one may be asked to teach four or five sections of composition a semester may not be very likely when the MFA thesis is a chapbook and there's little evidence of academic research or writing throughout the program. Again, I'm not saying this matters (the best preparation for teaching comp is teaching comp) but might it matter to prospective employers? I used to think the MFA would put me slightly ahead of those with mere MAs, but now I'm not so sure. I have an MA already, but does the MFA really matter if I can't get a book (or two!) published (a probable requirement to teach creative writing)? Was I better off going into a PhD program (although they have their own "producing more than we can hire" issues)?
From a future job standpoint--I don't know. It's a bit academic at this point (I'm fairly close to being finished) but it may be something to consider as we think about the particular program at UB, as well as other programs around the country.
Finally, I will say this: in terms of fiction writing, this degree has been the best thing I've ever done. I think my work is miles above what it had been. In terms of being an artist, irrespective of jobs or publication, I would do it again and again--I'm just wondering about how to make the best of the piece of parchment I'll receive and those who will come behind me.
Friday, February 15, 2008
Everyone
go over to Rose's blog and wish her well. Go ahead. I'll wait.
Okay, so I consider myself to be pretty lucky, having good health insurance and all, but it's pretty crazy to hear this story of the woe of the insured. Antibiotics, of course, are overprescribed and I think Rose is right to be concerned about being on lots of different antibiotics in a month's span, especially when it sounds like she just wants enough relief to sleep (not some magical cure that probably doesn't exist!). Paying through the nose to wait in a crowded and uncomfortable facility to see someone who isn't a doctor and is probably overworked is supposed to be why we don't want nationalized medicine. Most people who are lucky enough to have insurance have that now! The "system" we have now is awful and broken!
Whew--sorry about that. I find the rest of Rose's blog to be a nice antidote to mine (which feels like a boring notebook sometimes). I like the snips of remembered dialogue especially.
Rose--I tend to mistrust most drugs and medicines (made it tough to make friends in college) but when you're that sick, you've earned the right to a little codine....
Okay, so I consider myself to be pretty lucky, having good health insurance and all, but it's pretty crazy to hear this story of the woe of the insured. Antibiotics, of course, are overprescribed and I think Rose is right to be concerned about being on lots of different antibiotics in a month's span, especially when it sounds like she just wants enough relief to sleep (not some magical cure that probably doesn't exist!). Paying through the nose to wait in a crowded and uncomfortable facility to see someone who isn't a doctor and is probably overworked is supposed to be why we don't want nationalized medicine. Most people who are lucky enough to have insurance have that now! The "system" we have now is awful and broken!
Whew--sorry about that. I find the rest of Rose's blog to be a nice antidote to mine (which feels like a boring notebook sometimes). I like the snips of remembered dialogue especially.
Rose--I tend to mistrust most drugs and medicines (made it tough to make friends in college) but when you're that sick, you've earned the right to a little codine....
Yet another post about tenure track
The semester seemed to slam into full tilt pretty quickly--with the weather problems and a nasty couple of nights with a head cold (I'm now in the cool, after glow of illness where my voice sounds like the Master Control Program from Tron) I find myself in the crush of work usually reserved for the weeks just prior to exams.
One of the things I'm trying to do is serve on a search committee to get an idea of what I may be in for. Obviously, I can't blog much about the experience (esp. while in the midst of it) but I hope to be able to bring some better insights to the fledgling group that exists in my brain (we are happy there, we have peace, we are one with Landru).
In other news, I did manage to get my hands on some materials promised at AWP and they're pretty eye-opening--do more readings folks. I also spoke to a few other MFAers about the group and there seems to be some interest out there.
One of the things I'm trying to do is serve on a search committee to get an idea of what I may be in for. Obviously, I can't blog much about the experience (esp. while in the midst of it) but I hope to be able to bring some better insights to the fledgling group that exists in my brain (we are happy there, we have peace, we are one with Landru).
In other news, I did manage to get my hands on some materials promised at AWP and they're pretty eye-opening--do more readings folks. I also spoke to a few other MFAers about the group and there seems to be some interest out there.
Sunday, February 10, 2008
Prong Two: Publication
I don't have a whole heck of a lot to say about this--I think there's already work being done here in the program, so I'm not sure we need to concern ourselves with this. Nevertheless, are there areas that we can help with--should we maintain separate files on things like contests, entry requirements or, most interesting to myself, agent contact info?
The question of agents surfaced in the Novel Workshop class, which hadn't been offered in a while, but I'd like to revisit it again. I don't want to step on toes--I think we're moving the right way. That is, I don't feel like my needs aren't being met in this regard (especially since my book is a total mess that makes me feel guilty about even thinking about any of this stuff) but is there more to be done?
I don't really know as much about this and, frankly, publication feels more slippery to me than teaching--a lot depends on what you've written, of course. But a lot also hinges on contacts, and I wonder if this little tenure-track group should concern itself with this at all--especially since we have alumni in the publishing industry!
I think three people (one is me when I proofread the entries!) actually read this blog, so there may not be much use in asking these questions, but perhaps this blog can become a touchstone for this nascent group...
The question of agents surfaced in the Novel Workshop class, which hadn't been offered in a while, but I'd like to revisit it again. I don't want to step on toes--I think we're moving the right way. That is, I don't feel like my needs aren't being met in this regard (especially since my book is a total mess that makes me feel guilty about even thinking about any of this stuff) but is there more to be done?
I don't really know as much about this and, frankly, publication feels more slippery to me than teaching--a lot depends on what you've written, of course. But a lot also hinges on contacts, and I wonder if this little tenure-track group should concern itself with this at all--especially since we have alumni in the publishing industry!
I think three people (one is me when I proofread the entries!) actually read this blog, so there may not be much use in asking these questions, but perhaps this blog can become a touchstone for this nascent group...
The question of jobs: Prong One
I think, as we continue to think about the tenure-track job group (we need a name for the damned thing) there are two very basic components: the teaching and the publishing. Ironically, the publishing is what I thought the group had to concern itself about the least, but I will post about that another time. This is ironic for me, anyway, since I think of the publication as a kind of millstone--the aspect of getting work that I feel I have the least control over. Still, I think the teaching aspect may instill similar feelings in others.
In some sense, teaching jobs are easy to get--adjunct jobs are around after all. But these jobs offer little in the way of stability or salary, causing many recent grads to turn their car trunks into an office full of to-be-graded papers and textbooks as they move from one college to another (sometimes with wildly different hours--the 8 am class and then the 7 pm class on the same day...). I'm pretty lucky in that I never had to do that and have been teaching full time for a while now. Actually spending time in the class and with students and their work is something I have a lot of experience with, but how can this group meet the needs of those with fewer opportunities?
UB, of course, has no TA program that I'm aware of, but only recently did the school begin to admit freshman and sophomores. Primarily a transfer and graduate school, there didn't seem to be any opportunity to offer students the chance to get their feet wet in a section of freshman comp--there were no such sections.
Here are some crazy ideas I have:
-UB is now offering a comp class to incoming freshman. Can a certain number of these, especially outside of prime-time, eventually be offered to soon to be graduates of our program? This seems like the most traditional route, and, I admit, I have no clue as to the staffing or logistics issues that may arise, especially since the first-year program just started.
-Partnerships with other area schools may achieve the same effect, especially since many students live outside Baltimore City. Could this group serve as a touchstone for people living near Towson or Anne Arundel Community College or even colleges in PA (I know some students live there) that may allow them to be considered for adjunct work there? This may be a pipe dream, colleges want people that already have a Master's in these jobs, but it's an idea.
-People in the program with computer experience--any chance in allowing them to assist the first-year program (at least in a tutoring capacity)? I know that there is a lot of emphasis on online training for first-years and this exposure would be very helpful for grad students as well.
-Does MICA offer composition (or other writing) classes? I suppose they do and our program seems to have a close relationship with the school. Our background in publication design may also be helpful in this respect.
-What's the noncredit arena like? Can creative writing/pub design courses be developed/adapted for someone still in the program? I don't know much about this, nor whether this is useful to have on a CV (it can't hurt!)...
I'm not sure how tenable most of these are, but I would like to at least develop a list of schools that offer regular adjunct work in the area, as well as points of contact, directions, maybe even sample syllabi, to help alumni who may still be around.
In some sense, teaching jobs are easy to get--adjunct jobs are around after all. But these jobs offer little in the way of stability or salary, causing many recent grads to turn their car trunks into an office full of to-be-graded papers and textbooks as they move from one college to another (sometimes with wildly different hours--the 8 am class and then the 7 pm class on the same day...). I'm pretty lucky in that I never had to do that and have been teaching full time for a while now. Actually spending time in the class and with students and their work is something I have a lot of experience with, but how can this group meet the needs of those with fewer opportunities?
UB, of course, has no TA program that I'm aware of, but only recently did the school begin to admit freshman and sophomores. Primarily a transfer and graduate school, there didn't seem to be any opportunity to offer students the chance to get their feet wet in a section of freshman comp--there were no such sections.
Here are some crazy ideas I have:
-UB is now offering a comp class to incoming freshman. Can a certain number of these, especially outside of prime-time, eventually be offered to soon to be graduates of our program? This seems like the most traditional route, and, I admit, I have no clue as to the staffing or logistics issues that may arise, especially since the first-year program just started.
-Partnerships with other area schools may achieve the same effect, especially since many students live outside Baltimore City. Could this group serve as a touchstone for people living near Towson or Anne Arundel Community College or even colleges in PA (I know some students live there) that may allow them to be considered for adjunct work there? This may be a pipe dream, colleges want people that already have a Master's in these jobs, but it's an idea.
-People in the program with computer experience--any chance in allowing them to assist the first-year program (at least in a tutoring capacity)? I know that there is a lot of emphasis on online training for first-years and this exposure would be very helpful for grad students as well.
-Does MICA offer composition (or other writing) classes? I suppose they do and our program seems to have a close relationship with the school. Our background in publication design may also be helpful in this respect.
-What's the noncredit arena like? Can creative writing/pub design courses be developed/adapted for someone still in the program? I don't know much about this, nor whether this is useful to have on a CV (it can't hurt!)...
I'm not sure how tenable most of these are, but I would like to at least develop a list of schools that offer regular adjunct work in the area, as well as points of contact, directions, maybe even sample syllabi, to help alumni who may still be around.
Monday, February 4, 2008
More AWP
Another interesting idea that was suggested was in a session I went to on the MLA interview and tenure track positions. The key is preparation--in terms of a CV, in terms of the interview, in terms of the letter. All the speakers emphasized excellent points, but Peter Streckfus from the University of Alabama made great suggestions about ways to professionalize while still in grad school.
It's that idea I want to suggest for UB: the creation of a group of resources and people that can work to build materials and experience for those of us who may end up in a hunt for tenure track jobs. Besides gathering like-minded students, he suggests a faculty mentor and, this was most interesting, beginning a database of CVs, philosophies of teaching and letters of interest from faculty members and graduates who have landed jobs--this allows students access to those kinds of materials that have been successful and to see similarities that, hopefully, will allow them to build documents of their own. He even recommends sample syllabi go into that binder, and that students work on the creation of "dream" syllabi for that perfect course, as well.
He recommends this link from MLA: http://www.mla.org/career_resources#andandadfl.
I've only skimmed the page so far, but it seems a great free resource for job seekers.
Another interesting idea for the grad student group, is that it set up mock interviews--asking likely questions culled from polling faculty that have been on search committees. This gives students a way to think through common questions and iron through what Streckfus calls "blips"--simple moments that might have been glossed over, but that could cause a nervous candidate to become thoughtless or to misspeak. I like this suggestion and it seems something rather simple that once we get the ball rolling, could continue to be a resource for UB students--one that will stay with the program.
He claimed to have spent close to 200 hours in preparation for his interviews, etc. and this made me want to faint (I get the vapors easily), but, as we saw in the previous post, there is a lot of competition out there. . .
It's that idea I want to suggest for UB: the creation of a group of resources and people that can work to build materials and experience for those of us who may end up in a hunt for tenure track jobs. Besides gathering like-minded students, he suggests a faculty mentor and, this was most interesting, beginning a database of CVs, philosophies of teaching and letters of interest from faculty members and graduates who have landed jobs--this allows students access to those kinds of materials that have been successful and to see similarities that, hopefully, will allow them to build documents of their own. He even recommends sample syllabi go into that binder, and that students work on the creation of "dream" syllabi for that perfect course, as well.
He recommends this link from MLA: http://www.mla.org/career_resources#andandadfl.
I've only skimmed the page so far, but it seems a great free resource for job seekers.
Another interesting idea for the grad student group, is that it set up mock interviews--asking likely questions culled from polling faculty that have been on search committees. This gives students a way to think through common questions and iron through what Streckfus calls "blips"--simple moments that might have been glossed over, but that could cause a nervous candidate to become thoughtless or to misspeak. I like this suggestion and it seems something rather simple that once we get the ball rolling, could continue to be a resource for UB students--one that will stay with the program.
He claimed to have spent close to 200 hours in preparation for his interviews, etc. and this made me want to faint (I get the vapors easily), but, as we saw in the previous post, there is a lot of competition out there. . .
Early AWP thoughts
So we just got home from NYC and then digested the Super Bowl--now seems like a good time for some opening thoughts on AWP. . .
One thought that always swishes around there is the overwhelming sense that the writing game is far more competitive than it was supposed to be. I know it's naive to imagine that writers simply peel off brilliant pieces and they are lapped up instantly by an adoring public, but AWP always makes me a feel a bit like professional darts should have been my career path--fewer people involved and almost no talking to other players necessary! There are so many voices vying for a spot, for a bit of recognition, it's no wonder publication is so hard. . .
And yet--this is the really spooky part--it feels like everyone there is published in some form or another. Every other person is talking about his/her first book like it was three books ago and I wonder, "are you that great, am I that lame, could we both be great (or at least, kind of great) and I just need to get off my ass, or are you totally full of shit?" There's no good way to know who to talk to, how to talk to them and then what to say, made even more mind boggling by the fact that I'm supposed to be writing, not yammering! If I had wanted that, I would have aspired to anything else that didn't require I stare, alone, at a screen for hours at a time, (that is, when I'm not staring at paper).
So how does one differentiate oneself? The good news, I think, is already built into UB's MFA--the publication design stuff. As I made my way around the book fair, there were rows and rows of books--literally hundreds of people trying to get heard. Many of these were journals (we all want to get published, but don't want to actually buy them) but some were, depressingly, novels or short story collections or, and there are tons of these, chapbooks.
Chapbooks especially, seem to have a very eighteenth century look about them--blank cover on slightly heavier paper than the rest of the book. Occasionally, the poet's picture is on the inside flap, but that seems like the least important picture in or on a book. Believe me, I know you want your poetry to speak for you, but most aren't even going to notice your book if it is exactly like all the other boring books on the table (I don't even have the boring book, so please, poets, excuse my bluntness and understand what I'm advocating here). The fact is, I passed far more books over with a simple glance than I actually picked up in order to assess.
The solution is a simple one: book design. Having pens and condoms to give away at the table is cute, but they have little to do with the book--an eye-catching cover and appropriate paper, in a real sense, are the book. Very few seemed interested in the book arts at AWP, but those that did (The Pinch is a journal that stands out in my mind as being well designed--more in a sec) stood out and begged to be opened. This is where UB should really distinguish itself, and probably does. While I'm not using the language of the designer, the mere fact that I'm posting this at all, I think, is testimony to the fact that I'm aware of the physical book more than I may have been. Many at the book fair were not.
The Pinch seemed as splashy and put together as something like Tin House, but it must be much smaller in terms of budget and print run. Published by the University of Memphis, http://cas.memphis.edu/english/pinch/home/home.htm I'm convinced there isn't a huge amount of money at the staff's disposal; nevertheless, the covers I saw had a lot of motion and seemed to complement or be a part of the logo. Many other journals (even quite good ones) seem to simply have a nice art piece and a pretty safe logo emblazoned across. The Pinch felt much more lively. I plan to check out some issues and submit to it--so something worked (okay, so I would probably have submitted no matter what it looked like). In any event, I think there needs to be some emphasis in the program on just what writers may be up against, should they wish to market themselves (and most will have to at some point) or their work from the program (like Welter--I thought Welter 2006 looked sharper than most things I saw there--you are invited to touch it!). Perhaps a greater emphasis on our selling our books (or displaying them) at functions like CityLit or Baltimore Book Festival. I know we already do those things, but maybe students should be required, at various points in their own journey through the program, attend such events and make formal observations--a sort of entree into the capstone course. Perhaps a part of a larger pillowbook or portfolio for the program (this counts as mine!).
One thought that always swishes around there is the overwhelming sense that the writing game is far more competitive than it was supposed to be. I know it's naive to imagine that writers simply peel off brilliant pieces and they are lapped up instantly by an adoring public, but AWP always makes me a feel a bit like professional darts should have been my career path--fewer people involved and almost no talking to other players necessary! There are so many voices vying for a spot, for a bit of recognition, it's no wonder publication is so hard. . .
And yet--this is the really spooky part--it feels like everyone there is published in some form or another. Every other person is talking about his/her first book like it was three books ago and I wonder, "are you that great, am I that lame, could we both be great (or at least, kind of great) and I just need to get off my ass, or are you totally full of shit?" There's no good way to know who to talk to, how to talk to them and then what to say, made even more mind boggling by the fact that I'm supposed to be writing, not yammering! If I had wanted that, I would have aspired to anything else that didn't require I stare, alone, at a screen for hours at a time, (that is, when I'm not staring at paper).
So how does one differentiate oneself? The good news, I think, is already built into UB's MFA--the publication design stuff. As I made my way around the book fair, there were rows and rows of books--literally hundreds of people trying to get heard. Many of these were journals (we all want to get published, but don't want to actually buy them) but some were, depressingly, novels or short story collections or, and there are tons of these, chapbooks.
Chapbooks especially, seem to have a very eighteenth century look about them--blank cover on slightly heavier paper than the rest of the book. Occasionally, the poet's picture is on the inside flap, but that seems like the least important picture in or on a book. Believe me, I know you want your poetry to speak for you, but most aren't even going to notice your book if it is exactly like all the other boring books on the table (I don't even have the boring book, so please, poets, excuse my bluntness and understand what I'm advocating here). The fact is, I passed far more books over with a simple glance than I actually picked up in order to assess.
The solution is a simple one: book design. Having pens and condoms to give away at the table is cute, but they have little to do with the book--an eye-catching cover and appropriate paper, in a real sense, are the book. Very few seemed interested in the book arts at AWP, but those that did (The Pinch is a journal that stands out in my mind as being well designed--more in a sec) stood out and begged to be opened. This is where UB should really distinguish itself, and probably does. While I'm not using the language of the designer, the mere fact that I'm posting this at all, I think, is testimony to the fact that I'm aware of the physical book more than I may have been. Many at the book fair were not.
The Pinch seemed as splashy and put together as something like Tin House, but it must be much smaller in terms of budget and print run. Published by the University of Memphis, http://cas.memphis.edu/english/pinch/home/home.htm I'm convinced there isn't a huge amount of money at the staff's disposal; nevertheless, the covers I saw had a lot of motion and seemed to complement or be a part of the logo. Many other journals (even quite good ones) seem to simply have a nice art piece and a pretty safe logo emblazoned across. The Pinch felt much more lively. I plan to check out some issues and submit to it--so something worked (okay, so I would probably have submitted no matter what it looked like). In any event, I think there needs to be some emphasis in the program on just what writers may be up against, should they wish to market themselves (and most will have to at some point) or their work from the program (like Welter--I thought Welter 2006 looked sharper than most things I saw there--you are invited to touch it!). Perhaps a greater emphasis on our selling our books (or displaying them) at functions like CityLit or Baltimore Book Festival. I know we already do those things, but maybe students should be required, at various points in their own journey through the program, attend such events and make formal observations--a sort of entree into the capstone course. Perhaps a part of a larger pillowbook or portfolio for the program (this counts as mine!).
Tuesday, January 29, 2008
Site number 3
http://www.banksy.co.uk/outdoors/horizontal_1.htm
I'm sure this isn't a revelation, but Banksy is pretty cool. This is his web site (or perhaps a fan site?) with a great deal of his work there. What's so great about him is the way he uses context. So much of the joke in these pieces is based on either the environment (a sign or building around it) or some other piece of graffiti, most of which amount to vandalism.
Graffiti is often an ugly tag or quickly rendered dirty picture, and Banksy is most fun when he uses that rather ugly stuff as a punchline for something far more interesting (like the painter and the penis). He takes what's a pretty static, boring image and builds it into something smart.
Great stuff.
I'm sure this isn't a revelation, but Banksy is pretty cool. This is his web site (or perhaps a fan site?) with a great deal of his work there. What's so great about him is the way he uses context. So much of the joke in these pieces is based on either the environment (a sign or building around it) or some other piece of graffiti, most of which amount to vandalism.
Graffiti is often an ugly tag or quickly rendered dirty picture, and Banksy is most fun when he uses that rather ugly stuff as a punchline for something far more interesting (like the painter and the penis). He takes what's a pretty static, boring image and builds it into something smart.
Great stuff.
Second Site!
http://www.doctorhugo.org/bodylanguagesequences/series5/index.html
I stumbled upon this site with the aid of "stumbleupon"--a nifty little add-on that my friend had plugged into Firefox. I'm pretty certain this Dr. Hugo Heyrman is the kind of guy you'd like to meet, but under really controlled conditions. I can see a dinner conversation spinning wildly in all directions with no end in sight!
(And what's with the "Dr. first name" like I know you and am introducing you to my kid?)
In any event, the work here is worth the minute or five it takes to browse through these body language "experiments." The idea here is that he sets up a series of clips that you can click through. Each click is a second or two long and looped, and focuses on a particular, quick, probably unconscious, gesture. The results are fairly interesting. There's a lot in this work about narrative choices--the story is in where one chooses to begin and end, not as much about the middle. That's why the persistence of consciousness can be such a bugaboo for some of us--it doesn't resolve well into something digestible that can be analyzed, played with, punched in the gut, whatever. It's always moving, until, like in Margaret Atwood's "Happy Endings," "John and Mary die."
What's so compelling about Dr. Hugo's little clips is they play with some of that need for making sense of what we do and say by chopping it into pieces and then hacking that into almost incompressible bits. So we get something less than human--a flurry of bizarre tics that, if you let them, can be downright hypnotic.
I stumbled upon this site with the aid of "stumbleupon"--a nifty little add-on that my friend had plugged into Firefox. I'm pretty certain this Dr. Hugo Heyrman is the kind of guy you'd like to meet, but under really controlled conditions. I can see a dinner conversation spinning wildly in all directions with no end in sight!
(And what's with the "Dr. first name" like I know you and am introducing you to my kid?)
In any event, the work here is worth the minute or five it takes to browse through these body language "experiments." The idea here is that he sets up a series of clips that you can click through. Each click is a second or two long and looped, and focuses on a particular, quick, probably unconscious, gesture. The results are fairly interesting. There's a lot in this work about narrative choices--the story is in where one chooses to begin and end, not as much about the middle. That's why the persistence of consciousness can be such a bugaboo for some of us--it doesn't resolve well into something digestible that can be analyzed, played with, punched in the gut, whatever. It's always moving, until, like in Margaret Atwood's "Happy Endings," "John and Mary die."
What's so compelling about Dr. Hugo's little clips is they play with some of that need for making sense of what we do and say by chopping it into pieces and then hacking that into almost incompressible bits. So we get something less than human--a flurry of bizarre tics that, if you let them, can be downright hypnotic.
Monday, January 28, 2008
First Site
http://www.scottmccloud.com/makingcomics/tour.html
This is Scott McCloud's web site--mostly dedicated to his latest book Making Comics. I've read his previous "comics on comics" (the classic Understanding Comics and now somewhat quaint Reinventing Comics) but I'm not as interested in as many "craft" issues, so haven't gotten around to the new one. Plus I already have a ton to read...
In any event, this particular part of the site deals with his fifty state tour and the link to his blog is what I'm most interested in for the "narrative elements" assignment. This is, perhaps, a gimmie, since the blog deals with a straightforward journey and is organized chronologically, but the other bloggers (especially his daughter, who updates us on her grades!) act as characters that weave their own pieces into the larger tale. The occasionally updated maps are fun too (all blue states, of course). It reminds me of long drives to Florida we used to endure in my childhood. A few times I can recall passing campers or RVs with maps posted in a rear window with the visited states colored in. I always wanted to fill up such a map and visit all the states too...
This is Scott McCloud's web site--mostly dedicated to his latest book Making Comics. I've read his previous "comics on comics" (the classic Understanding Comics and now somewhat quaint Reinventing Comics) but I'm not as interested in as many "craft" issues, so haven't gotten around to the new one. Plus I already have a ton to read...
In any event, this particular part of the site deals with his fifty state tour and the link to his blog is what I'm most interested in for the "narrative elements" assignment. This is, perhaps, a gimmie, since the blog deals with a straightforward journey and is organized chronologically, but the other bloggers (especially his daughter, who updates us on her grades!) act as characters that weave their own pieces into the larger tale. The occasionally updated maps are fun too (all blue states, of course). It reminds me of long drives to Florida we used to endure in my childhood. A few times I can recall passing campers or RVs with maps posted in a rear window with the visited states colored in. I always wanted to fill up such a map and visit all the states too...
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